Mozart Piano Sonata No. 3

In B flat major and the third base of the set Mozart composed, the Piano Sonata (K. 281) opens with an Allegro in sonata form. Almost immediately afterward the restatement of the four-measure theme begins, Mozart moves away from the tonic toward the dominant, F major. An insistent repeated-note figure is the chief(prenominal) feature of the secondary theme, which quickly gives way to a trilled shutting motive. After a harmonically daring development section we fancy one of Mozarts most predictable inspections, tracing the exposition in copious and resolving everything to the tonic forward closing without a coda.Marked andante amoroso, the slow movement is in sonata form with a brief development. A large leap at the beginning of the secondary theme contrasts with the go scale that makes up the introductory theme. Trills and sudden dynamic contrasts inject colour into an otherwise serene atmosphere that pervades the entire movement. As in the Allegro, the recapitulation foll ows exactly the path of the exposition, except for the modifications necessary to remain in the tonic, E flat major.The movement closes without a coda. The concluding Rondeau (or rondo is infused with elements of sonata form. The first end (section B) is on the dominant, F major, thus preparing the way for the first (and unaccompanied partial) return of the rondo theme. In the manner of a recapitulation, this same episode returns nearly in full and resolved to the tonic just before the last statement of the rondo and the close of the movement.